Puriya, Marwa, Sohni: A Comparative Study
Puriya, Marwa, and Sohni are like triplets born to the same parents. Just like triplets, their features may appear similar, but their personalities are remarkably different.
All three raags belong to the Marwa Thaat. They use the same swars in both aaroh and avroh, are of Shaadav Jati, and omit Pancham (Pa). Yet an experienced listener can distinguish them almost immediately. The reason lies not in the swars themselves, but in the importance given to particular swars and the unique personality that emerges from them.
Puriya, Marwa, Sohni: A Comparative Study
Vadi, Samvadi and Swar usage
The most important difference between these raags lies in their vadi and samvadi. Marwa has komal Re as its vadi and shuddha Dha as its samvadi. Puriya has Ga and Ni as its vadi and samvadi, while Sohni has Dha and Ga.
Since the vadi of both Marwa and Puriya lies in the poorvang, both are considered poorvaang pradhan raags. Their development is centered primarily in the lower and middle octaves. Sohni, on the other hand, has Dha as its vadi and is therefore an uttaraang pradhan raag. Its character is established more prominently in the upper octave.
Marwa also possesses an unusual feature. In most raags, the vadi and samvadi are separated by the same interval as Sa–Ma or Sa–Pa. Marwa is one of the few exceptions where this convention is not followed.
Time of performance
Marwa is closely associated with dusk and is considered one of the most evocative raags of the evening. The transitional nature of dusk, suspended between daylight and night, further enhances the sense of restlessness inherent in the raag. Puriya and Sohni, on the other hand, are fundamentally late-night raags because of the moods they express. Specifically, Puriya belongs to the second Prahar of the night, between 9 PM and 12 AM, while Sohni is performed during the early part of the fourth Prahar, between 3 AM and 6 AM.
Mood and Expression
Marwa and Puriya are both serious in character. A feature they share is the tendency to delay or avoid Sa during elaboration. Combined with the absence of Pa, this creates a feeling of tension and suspended resolution before finally arriving at Shadaj. Marwa possesses a melancholic quality and produces a particularly restless and emotionally intense atmosphere, while Puriya evokes a sense of peace and tranquility. Sohni, by contrast, employs quicker and more agile phrases that often establish themselves in the upper octave from the outset, making it particularly effective for expressing separation and longing. Unlike Marwa and Puriya, Sohni makes frequent use of Sa.